Susan Eisenberg, the voice of Wonder Woman in the popular “Justice League” and “Justice League Unlimited” television series, reprises her role for the next DC Universe Animated Original Movie, “Justice League: Doom.”

Eisenberg will join several of her voicecast colleagues for the West Coast Premiere of Justice League: Doom at the Paley Center for Media in Beverly Hills on February 16.

The all-new, PG-13 rated Justice League: Doom will be available February 28 from Warner Home Video as a Blu-ray Combo Pack, DVD and for Download. Both the Blu-Ray Combo Pack and DVD will include an UltraViiolet Digital Copy.

Eisenberg has focused her career in voiceovers for animation, video games and commercial use. In addition to her work for the past 12-plus as Wonder Woman for Justice League and Justice League Unlimited television series and the DCU films Superman/Batman: Apocalypse and Justice League: Doom, Eisenberg can also be heard in a variety of animates series, including Jackie Chan Adventures, Scooby-Doo! Mystery Incorporated and The Super Hero Squad Show, as well as video games like Star Wars: The Ford Unleashed – Ultimate Sith Edition and Command & Conquer 4: Tiberian Twilight. She is one of nine actors returning to the booth to record their original Justice League roles for the film, Justice League: Doom.

In anticipation of the West Coast Premiere, Eisenberg gladly offered some recollections and thoughts regarding her years of voicing Wonder Woman, including flirtations with Batman, her personal memorabilia collection, and the real reason Wonder Woman flies an invisible plane. Take a read …

QUESTION: What do you recall of earning the role of Wonder Woman some 13 years ago?

SUSAN EISENBERG: I can remember it vividly – because it was a big deal. It felt like a real life-changer, so it’s a huge memory for me. It was 1999, and I remember going to the call back and being with Andrea (Romano) and Bruce (Timm). Even the dialogue is still clear in my memory. And when I got the call that I got the role, it really had an impact on me.

Most jobs in voiceover don’t make you feel like they’re going to change your life, but this one did. And in many ways, it really did. I got to work for six years on a series, and I’d never done something that long term. And I was chosen to voice this wonderful, iconic character … and through these movies, I get to continue that role. It’s been fun and kind of surprising – people obviously know Wonder Woman, but it’s wonderful when they care that much that they actually recognize and acknowledge your work as the character. I walk into other jobs and people still say, “You’re Wonder Woman, right?” That’s really a kick.

QUESTION: What’s special to you about playing Wonder Woman?

SE: Wonder Woman is truly iconic. Everyone knows her. There’s something wonderful about playing a character who is recognized throughout the world. And I love her strength. I love that she stands for something and that she believes in what she believes. She’s very, very loyal and faithful and, in the beginning, I got to play her more vulnerable, and now I get to play her more adult and stronger. She’s a wonderful character.

QUESTION: You don’t have the benefit of weekly recording sessions to keep the voice fresh in your mind. How do you jump back into this role without a hitch?

SE: Working with Andrea and Bruce is a great because they were there at the start – Andrea has always directed me in this role, so she knows what she’s looking for. Listening to her direction is the first trick. Reading the script a few times also helps, especially to find the attitude and the voice. And as a refresher, I like to go online, check out YouTube, and play some old clips, or watch some of my DVDs. That helps to get me back in that space – and then Wonder Woman is right there in my head. But honestly, it’s not a huge leap for me – she’s pretty much in there all the time, anyway.

QUESTION: How much of what you do with Wonder Woman is through a change in your voice, and how much is really acting and attitude?

SE: A lot of it’s attitude. That’s why, if I’m speaking just normally, it’s not as if somebody next to me would ask, “Do you play Wonder Woman?” But then when I do the attitude and lower the register slightly, you will see this smile of recognition on the face of a little kid … or a true fan. And that’s always fun.

QUESTION: Who recognizes you more – kids who watch cartoon, or the adult devotees of the genre?

SE: Kind of both, and the reactions are different, but similar. It’s really nice to have people who are so passionate about these characters. So you get the 6-year-old child who has watched the cartoon and their eyes get big when they recognize that you’re this person behind the voice. But then you get the 40-something-year-old who has been watching, and loves this world, and loves this universe, and reads the comic books, and cares deeply about the genre. That’s fabulous, too. Just to have fans is a very cool thing. No one can complain about that. It’s good.

QUESTION: Wonder Woman has some very long battles in Justice League: Doom with a lot of physicality required in the vocal performance. How’d you handle that?

SE: The initial recording session is pretty straight-forward – we save most of the impacts and grunts and physical action for the ADR session. But as I was reading the script, I just kept thinking of Dwayne (McDuffie) and thinking, “You really layered it on me, didn’t you!” I’m going to have to be electrocuted and hit over the head and punched over and over and punch back over and over. You often have to be physical to sound physical. So – that’s a truly exhausting day.

QUESTION: What’s it like to have the gang back together again?

SE: You know, it’s thrilling because it’s a grand reunion. I get to be reunited with Michael Rosenbaum and Kevin Conroy and Carl Lumbly and that’s like having the League back together, if you will. I didn’t that expect that to happen, and I could not be more thrilled. Driving to the recording session, I was just so excited that we’d be in a room together. It is just so comfortable coming back into this. It’s the best gig in town. And anyone who does voiceovers would say that.

QUESTION: What are the scenes that appeal most to you in this film?

SE: I always like the quieter moments. So I like my scenes with J’onn, because those two characters really can relate to each other in so many ways, and I also liked my scenes with Batman. In both cases, those were some of the quieter moments with some emotional content. I enjoy the scenes where I have to kick some butt, too. But I truly enjoy the interplay with the other characters and the actors that play them.

I’ve never been shy about my feelings with Batman and Wonder Woman because, first of all, I love Kevin and I love working with Kevin. I think he’s amazing as Batman. And I love Batman and Wonder Woman together, and I think the fans do, too. You can go on YouTube and find all these wonderful videos of the two of them – showing their romance, put to music – so you know the fans love them together.

Playing Diana gives you a lot of different angles and emotions to play. Diana is very serious – she’s not like Flash where she’s funny and throwing out the one-liners. When she’s funny, it’s not necessarily intentional that she’s funny. And so I love the other aspects of her, when she gets to be flirty with Batman or when she gets to be funny with Flash or more earnest with J’onn. I especially like to play the flirty and hint at that romance between the characters. That’s a lot of fun.

QUESTION: How much equity to you take in this character?

SE: I’m enormously proud that I get to play her – it truly is a privilege and an honor. People have definite, strong opinions of Wonder Woman, and she’s known everywhere. She is this embodiment of female empowerment, and that’s a thrill, too, because there are little girls and little boys and they’re watching this and seeing that she’s so strong and so tough and righteous. It’s great to be able to provide that example of heroics through this character. I’m a guardian of that, and I don’t take it lightly. And every time I get asked to voice the role, I feel grateful – each and every time. I hope I keep getting to do it.

QUESTION: Has playing Wonder Woman changed you?

SE: In several ways. I think I’ve grown up with this part. I got this role 10 years ago, and just working alongside my fellow Justice League actors and with Andrea and Bruce has changed the way I work. And learning about this universe has changed me. You can’t have a part like this and not feel changed by it, because it’s enviable to have this job and play this character. There’s humility attached to that. You know you’re lucky. And that changes you, also.

QUESTION: What’s your attraction to voiceover work?

SE: I grew up doing radio commercials for my father’s business in Woonsocket, R.I., and I loved it. My father and my sister worked together – they would write the copy for me, and I would do the commercials for them. There’s something just so freeing about being behind a microphone as opposed to in front of a camera. There’s no worry about your hair or lipstick – on camera you get so self-conscious. Sure, there’s a self-consciousness in a room recording with other actors, because you want to be good. That’s just performance anxiety. I’ll take that any day over that camera and all those people staring at me. Some people are so natural with the camera – the can just pretend it’s not there. I am so aware it’s there.

QUESTION: What Wonder Woman memorabilia do you have at home?

SE: I have a lot of pictures and some beautiful cels – all gifts from the Justice League and Justice League, Unlimited. And some small things that people have sent me – mugs and little toys and notebooks with her on the cover. When we first started, we all ran out and bought our own action figures, so that’s right at the forefront of my bookshelf.

Best of all, I have all the scripts from the series. I keep them in a big bookshelf in my closet. I’m nostalgic about that stuff. It’s very sentimental to me to. It was a big deal this job – it really does mean the world to me. So I kept all the scripts.

QUESTION: Wonder Woman can fly. Why does she need an invisible plane?

SE: Because she likes to go in style. And why should she always be flying when there is a plane that can do it for her? I mean, why not have the private jet if you can have the private jet? Right? You’re going to begrudge her a private jet? I don’t think so.

Lex Luthor finally achieves everything he ever dreamed of. Superman faces the specter of a real death.

In All-Star Superman, Luthor delivers the coup de grace by poisoning the Man of Steel’s sun-absorbing cells with the very source of his powers, sunlight. That’s just within the opening scenes.

The plot of “All-Star Superman” drags at times, but moves forward into the psyche of Superman as reality sets in. The Last Son of Krypton spends time coming to terms with his possible mortality, doing things like revealing his identity to Lois Lane. Wait…haven’t we seen this one already?

He brings her to the Fortress of Solitude, re-imagined as a geological structure absent ridiculous crystals and Marlon Brando. When Lois — always the paragon of journalistic integrity — gets paranoid and nosy, she finds that Superman is keeping a secret from her. But just as her trust with the blue boy scout is breached, she finds that there is only one thing Superman would keep from Lois Lane. After all, he showed her the room with the kryptonite laser and the gravity-gun. It turns out he has a romantic surprise for her, at least his idea of one.

This time, instead of flying her over the world in his mighty blue embrace, Kal-el lets Lois fly herself. Superman kept the surprise in a secret room, a vial of a concoction made to endow a mortal with all of Superman’s powers. That could never fall into the wrong hands, could it?

Finally, they have a romantic kiss on the surface of the moon. After they have a great little adventure and Superman arm-wrestles two super-suitors after his girl, Superman lets her know that he is dying.

He flies the bottled city Kandor into space, immediately after the plot flies spinning into comic-book-nerd insider ball.

Upon his return from space, he faces two Kryptonians bent on conquering the world. In a true demonstration of decency, Superman overcomes their hatred by helping them. The script avoids a catastrophic explosion of violence between them and Superman — even though the heightened sunlight infusing his anatomic structure jacks his powers even further than ever imagined.

In the mean time, the United Nations finds out how Lex poisoned Superman and decides to put him in the electric chair. They make this exception to their anti-death penalty stance to punish Luthor for crimes against humanity, but the criminal mastermind has other plans. He drinks a cocktail, eats 1,000 volts, busts the restraints, and stands there as the guards pump rounds into him.

Didn’t somebody mention something about a Superman-power-imbuing concoction?

Suffice it to say that Superman faces even more peril as some giant sun-eating robot — who would be cooler if voiced by Orson Welles — turns the sun red, stripping Superman of his powers just as soon as Luthor gains them.

The DVD/Blu-ray combo hits shelves February 22, so you diehards can wait until next week to see how it ends.

Award-winning actor Anthony LaPaglia returns to his villainous roots as the voice of Lex Luthor in “All-Star Superman,” the highly anticipated 10th entry in the ongoing series of DC Universe Animated Original Movies coming February 22.

LaPaglia is best-known for his Golden Globe-winning lead role in the CBS drama “Without a Trace” and won an Emmy for his role as Simon on “Frasier.”

LaPaglia takes the villainous lead in an “All-Star Superman” cast that includes James Denton (Desperate Housewives) as Superman, Christina Hendricks (Mad Men) as Lois Lane, seven-time Emmy Award winner Ed Asner (Up) as Perry White, Golden Globe winner Frances Conroy (Six Feet Under) as Ma Kent, Matthew Gray Gubler (Criminal Minds) as Jimmy Olsen and Linda Cardellini (ER) as Nasty.

In the feature, the Man of Steel rescues an ill-fated mission to the Sun (sabotaged by Lex Luthor) and, in the process, is oversaturated by radiation – which accelerates his cell degeneration. Sensing even he will be unable to cheat death, Superman ventures into new realms – finally revealing his secret to Lois, confronting Lex Luthor’s perspective of humanity, and attempting to ensure Earth’s safety before his own impending end with one final, selfless act.

QUESTION: What were the challenges of creating Lex Luthor as an animated voice?

AP: You have to understand the medium that you’re in. As opposed to (on-camera) acting with another individual where it requires listening in order for you to respond, here you’re having to create the question the other person would ask you in your head and then respond to it. It’s a much more difficult process because there’s a line between it being real and it being animated. There’s a slightly different tonal quality to the way you say things, or in the way you have to make it bigger sometimes than you would naturally do in order to sell it. But not having the visual in front of you – you’re kind of shooting in the dark a lot.

QUESTION: Did you enjoy this incarnation of Lex Luthor?

ANTHONY LAPAGLIA: Yeah, I did actually. I found it surprising that Lex Luthor was getting a bit spiritual (laugh). I guess it’s kind of like a sign of the times where he’s trying to get in touch with the inner Lex. (laugh)

QUESTION: Can you talk about the journey Lex goes through in All-Star Superman?

AP: The journey Lex Luthor takes in this film – in the beginning it’s what you’d expect: he’s interested in power and world domination and Superman is the bane of his existence. And then as it progresses, there’s a slight injection of humanity, which is surprising to Lex Luthor that he’s even experiencing feelings that are remotely human. So it kind of gives him an unusual arc. He definitely has more dimension to him in this film.

QUESTION: What do you bring to Lex Luthor?

AP: As a kid, I loved comic books. It’s basically how I learned to read as a kid because my mother would buy them for me to keep me quiet, I think. I remember one time particularly – I was 4 or 5 years old, and I was sick and I had to stay in bed for three weeks, and so she would buy me comic books every second or third day. And I just created my own world, sitting under the covers reading Superman, Batman, Silver Surfer, a lot of the great comics.

QUESTION: What is it about Lex Luthor that most appeals to you?

AP: There’s a kind of sarcastic streak in Lex Luthor that comes from that extreme confidence in his ability to do what he does. I like the attitude of him. I like that nothing really fazes him, that he feels like he has complete control over everything, therefore, he can be relaxed enough to be a smartass. A good Lex Luthor makes or breaks it for me, I think.

QUESTION: As you’ve played so many villains, do you prefer being the bad guy?

AP: I’ve always liked playing the baddy. Some people have a problem with getting typecast. I’m quite happy with being typecast. I don’t care, as long as you’re working. The truth is you could play every bad guy in a one dimensional fashion, but it’s like everything else in life – everything’s different and everyone’s unique, so you have to find the uniqueness in the character to bring it to life.

QUESTION: You’ve obviously performed in every medium available, but voiceover is relatively new for you. Does voiceover work offer you challenges or joys of acting that you don’t get elsewhere?

AP: I like the isolation part of it. I like that there’s a certain amount of freedom, and that you’re not waiting for somebody else to find their motivation. It’s more challenging to come up with a believable character doing animation work than it is (in live-action). Acting is relatively easy because you have a personal one-on-one interaction with someone, therefore whatever you’re doing is a lot smoother. This requires a bit more patience and you have to suspend the fact that you’re in a sound stage and really commit to the material.

QUESTION: You had a moment where you weren’t understanding Andrea Romano’s direction on a particular emotion, and Bruce Timm was able to draw Lex Luthor with an expression that depicted that emotion. Have you ever gotten direction via artwork before?

AP: That made me laugh. We were trying to get that particular passage done right and I didn’t quite know how to get it. It’s not an uncommon issue where you have three or four people that have three or four different takes on what it should be – it gets a little confusing sometimes if you’re doing it and you’re taking in all the different stuff. You want to deliver what they want but sometimes you’re not sure how to quite get there. And I thought that was ingenious, actually, showing me the picture through the glass of the expression on Lex Luthor’s face. It made perfect sense – Bruce is an animator. That’s what he does – so he was able to show me visually what he was looking for in my voice. I could actually see Lex’s mental state of anguish. It actually made me think of doing it a different way and that ended up working.

QUESTION: You’ve earned a Tony Award, an Emmy Award and a Golden Globe — does one of those honors mean more to you than the others?

AP: To be honest, after a certain period of time they’re just kind of like objects in your closet. I think that, of all of them, the one that kind of means (more) was the Tony Award because doing theater is way, way, harder than doing anything you’ll ever do on film or television. It’s about real discipline. You have to go in and do eight shows a week whether you feel like it or not and, in the case where I won the Tony, it was in one of those shows where you could never phone it in. It just didn’t work if you phoned it in. So, come hell or high water, I did it for a year – which is a long time to do eight shows a week. I think I missed about five in a year. Also, I think (the Tony Award) meant probably the most because it’s where I started. It’s kind of what I admire the most. Theatre is what I find the most challenging. So I would say that the Tony kind of meant more. But the others are nice, too, you know (laughs).

QUESTION: How much does a background in the theatre help in the voiceover booth?

AP: The theatrical background helps you in doing (voiceover) because you’ve already been through a hundred different acting classes where you’ve had to sit on a black box and pretend that you were a lemon or an imaginary cup of coffee or whatever. There’s always a part of that program that requires you to strip yourself bare and be an idiot. And if you’re not prepared to do that, then you have no place being there.

QUESTION: You had quite a lengthy list of unglamorous jobs before becoming an actor. Pro soccer player, teacher, shoe salesman, furniture restorer, sprinkler installer. And now you’re an award-winning star voicing a super villain for an animated film. How does it all tie together?

AP: Well, that’s glorification. I used to dig the trenches for the guy who actually installed the sprinklers. I just did the digging (laughs). I had no idea that I would be doing what I’m doing now when I was a kid. When I was a kid you could’ve said that I was going to be an astronaut and that would have been more realistic than doing this. So I think it ties together in that I don’t really have any expectations or feelings of how things should go anymore. They go how they go and you’ve just got to roll with it. And I think it’s your ability to roll with it that keeps you in the game. It’s also your ability to recognize when it’s changing and how you need to change with it if you want to. And I’ll tell you that from the minute I decided what I wanted to do, it’s all been gravy from there. It’s what I want to do. Whether I’m successful or not at it, it’s what I chose to do. It wasn’t what somebody told me to do, so everything that comes out of it is just a bonus.

QUESTION: OK. But if you could do it all over again, what would you choose – acting or soccer?

AP: That’s a tough one. What level of football? (laugh) Well, if I could play in Italy for a five-year career, I’d swap it. Absolutely. People don’t realize how huge football players are in other parts of the world – compared to them, actors and musicians are nothing. They’re doormats. You walk through Rome with Francesco Totti and I don’t care who you are – nobody’s going to notice you because Francesco Totti is God. It’s hard for people to conceive in this country just how important the game of football is culturally in Europe and South America, and even Asia. It’s religion; it’s life; it’s everything.

A meteor just crashed in Fawcett City causing a fiery explosion to interrupt a teen make-out session. Out of the flaming wreckage steps a villain with mythic power that springs straight from the gods, Black Adam.

This Tuesday “Superman/Shazam: The Return of Black Adam” hits shelves on Blu-ray and DVD.

Comic fans know the face of the villain, but uninitiated have no idea the powerful forces at command of the black-clad powerhouse. Voiced by Arnold Vosloo (The Mummy), the newcomer lets the viewer in by clapping to create a sonic concussion and level a diner where the unsuspecting reporter Clark Kent interviews the poor orphan Billy Batson.

After being slapped through a series of buildings Kent reveals his identity to the newcomer. Reprising his role as Supeman, George Newbern (Justice League) announces that he has no intention of letting the rampaging sociopath kill the boy.

The titanic battle that ensues highlights that what animators can accomplish these days is limited only by their own imaginative powers.

Just as Black Adam capitalizes on his realization that Superman is weak against magic, Billy Batson goes through a Harry Potter-like train sequence where he meets the wizard Shazam.

When the wizard grants him powers similar to those of Black Adam, Billy jumps at the chance to save The Man of Steel.

As he first attempts to return the favor, it becomes very clear, very quickly that Black Adam is quite comfortable in his own powers. In the ensuing throw-down Black Adam demonstrates the battle prowess of a 5,000-year-old warrior. Needless to say, it’s awesome.

This animation presents the master-crafted jewel for the crown of animated shorts from Warner’s DC showcase. The Blu-ray retails for $29.99, and the DVD for $19.99, featuring The Spectre, The Green Arrow, and Jonah Hex. Even though these are 10-12 minutes each, the 22 minute title feature makes it worth the cash. Checking out producer Bruce Timm’s favorite picks from previous Warner Bros. shows adds nostalgia value, for fans of Justice League Unlimited, or Batman: The Animated Series.

DVD And Blu-Ray

Predators (R)

This week, yet another installment in the Predator Franchise hits shelves. But instead of a brigade of soldiers led by Govenator Arnold Schwarzenegger, this group of mercenaries includes unlikely faces such as Topher Grace, Adrien Brody, and Laurence Fishburne. The group find themselves in a confusing spot when they realize they have been transported to an alien planet, inhabited by a species of alien that is anything but friendly. Soon, the mercenaries begin to realize that they were brought to the planet for a reason, one that places them in the middle of a game of predator and prey. (Fox, $29.98; Blu-ray, $39.99)

Oceans (G)

Ever wondered what the beautiful landscapes of the ocean and its inhabitants look like, but with James Bond narrating it all? If the answer is yes, then the release of this Disney documentary onto DVD will probably make your week. With Pierce Brosnon contributing his voice, Disney delves into the bottom of the ocean, and explores the breathtaking, but dangerous world that lies beneath. Oceans is sure to captivate audiences, and guide them on a wonderful journey into the ocean deep. (Disney, $29.99; Blu-ray, $39.99)

Agora

Following the story of an astronomer during the times of Roman rule over Egypt, Agora stars RachelWeisz, who plays the lead role of Hypatia. As she tries to save the

knowledge of the ancient world, three of her male followers vie for her heart, and grapple with their loyalty to her, even if it costs them their very freedom as people. (Newmarket, $27.98)

Other Releases:

Holy Rollers (First Independent Pictures, $19.93)

Bo Burnham: Words, Words, Words (Paramount, $14.99)

Please Give (Sony Picture Classics, $28.95; Blu-ray, $34.95)

Book Releases

Worth Dying For (Jack Reacher Series #15) by Lee Child

Author Lee Child returns with another thriller in his Jack Reacher series, and this time, Jack finds himself in deep water when he manages to get on the bad side of The Duncans. As a clan that has the Nebraskan town in the palm of their hands, the Duncans want Jack gone, especially when he starts to delve into a decade old child murder case that was never solved. But things only get sticker for Jack when the Duncans’ boss comes into the picture, and proves that the conspiracy goes farther than Jack would have ever imagined. (Random House Publishing Group, $28.00)

Crescendo by Becca Fitzpatrick

The angel-human relationship between Patch and Nora continues in the new installment in this YA series. In the New York Times Bestselling prequel, Hush Hush, Nora was introduced to the snarky yet mysterious Patch, who seemed to be as filled with secrets as he was with pick-up lines. In Crescendo, The couple deals with the aftermath of Patch becoming Nora’s guardian angel, and the secrets he could be hiding from her. The mysterious death of her father has haunted her for years, but now Nora is determined to find out if the new angelic twist her life has taken lately has any connection to the tragedies of the past. But as Patch begins to move away from her, Nora begins to becoming even more determined and risky with her search for the truth. But what if the truth she seeks involves the very same guardian angel she has come to love? (Simon & Schuster Children’s Publishing, $18.99)

In the Company of Others (Father Tim Series #2) by Jan Karon

In the sequel to New York Times Bestselling, Home to Holly Springs, Karon explores Father Tim and Cynthia’s exploration to Ireland to find out more about his ancestry, and find themselves staying in a very nice lodge. But luck begins to run out when Cynthia is wounded, and a painting is stolen from the lodge. Can the two of them piece together the secrets that shroud his broken family? (Penguin Group, $27.95)

Other Book Releases:

Chasing the Night- Eve Duncan Series #11 by Iris Johansen (St. Martin’s Press, $27.99)

The Fall of the House of Zeus by Curtis Wilkie (Crown Publishing Group, $25.99)

Forge by Laurie Halse Anderson (Simon & Schuster Children’s Publishing, $16.99)

Nightshade by Andrea Cremer (Penguin Group, $17.99)

The new Justice League DVD deals with two worlds, and it took two directors to make it happen. “Justice League: Crisis on Two Earths” is an all new PG-13 movie from Warner and DC.

Lauren Montgomery and Sam Liu, the animation directors of the past three DC Universe films, have combined their talents to bring “Crisis on Two Earths” to the screen as a blockbuster tale of super heroes and super villains engaged in the ultimate battle of parallel worlds and, through a diabolical plan launched by Owlman, puts the balance of all existence in peril.

The film will be released by Warner Home Video on February 23 as a Special Edition 2-disc version on DVD and Blu-Ray, as well as single disc DVD, and On Demand and digital download.

QUESTION: How did you two go about co-directing Justice League: Crisis on Two Earths?

LAUREN MONTGOMERY: We kind of just went over the whole film together and it was really good to get two different points of view as a check and balance for each other. If we disagreed, we found compromises that would work. If one of us felt strongly about something, we just traded off — Sam would take a sequence he felt strongly about, then I’d take one I wanted. But for the most part, we agreed. We both work in such different ways, it was interesting to see how someone else works and learn from it.

SAM LIU: We went through the film front to back, and if we ran into a problem or an area where either of us had an issue, usually where we thought it could be stronger or could be playing better, we usually solved it right on the spot. If we got to a section that was requiring a lot more revisions, one of us would jump on it and the other would move the rest of the film forward until we hit another rough spot. So that was our process.

QUESTION: What have you learned from each other?

LM: Sam breaks things down a lot, he’s very analytical. I tend not to. He spends a lot of time thinking about the story and getting into all the nooks and crannies of it, and I like to work with the general story. He’ll read the whole book, I’ll read the back of the book. I try to get the emotional points down so people can understand them, but Sam will go even deeper to use shots and set-ups to drive the point home, sometimes metaphorically. He thinks harder than I do.

SL: Our processes are very different. I like getting into a script and breaking things down. Maybe I don’t have the best ideas, but I’m pretty good at recognizing where things are needed. I really liked the back and forth process (with Lauren), talking about ideas and batting it back and forth to find a good solution. Lauren is more instinctual, she works more from the gut. And I think she works off reaction rather than an intellectual breakdown. I’m the other way by process. But I do feel like sometimes I over-analyze things, when sometimes it’s almost like the emotional flow of the movie is good enough. Lauren gets that. Sometimes logic can be bypassed if the scene is engaging enough, or interesting enough. It’ll bridge gaps and you don’t need to analytically fix all those gaps.

QUESTION: What do you think you might have taught each other?

LM: I think Sam stresses out slightly less when I’m around. He stresses and I don’t. I think I calm him down a little bit. But when he’s alone, he stresses out just as much. Hopefully I helped with that.

SL: I don’t think I taught her anything (he laughs). She’s a free-flowing, shoot-from-the-hip kind of person, and I’m kind of an angster — I nitpick things. I like getting into the story, and from there some things do need working out — things related to the emotional journey of a character that need to be highlighted or punctuated to set something up for later. I’m a stickler for things like that. And I think she saw those things.

I do stress, though — and there are times when I’m freaking out about something and she puts me at total ease. And then there’s times when I’m freaking out and she’s fighting me on it, and it makes it worse. I think we’re both control freaks in our own way, it’s just a difference in approach. I fixate on a lot of things, and she thinks things are just good enough, so let’s move on. We have an innate concept about the overall picture, but she focuses more on the acting and poses and timing and movement, and I think more on structure. I guess there’s a good balance.

QUESTION: Do you have a favorite scene in “Justice League: Crisis on Two Earths?”

LM: There’s a fight between Wonder Woman and Olympia that I thought was really beautifully animated. That’s always fun to watch. It was boarded well, but the overseas animators took the drawings from the boards and really plussed it out. I think they just enjoy animating girl fights overseas because those scenes always come back looking good.

SL: More than one scene, I like the overall relatability of the Justice League characters. There was great character interaction. When I watch movies, I like something that has an emotional connection, and this film definitely does.

Specifically, I think the spectacle of these evenly matched supers fighting was really cool. Superman versus Ultraman. Flash fighting someone equally as fast. Strengths against strengths. Jay Oliva boarded the last fight sequence and the Superwoman-Wonder Woman fight is great. They’re both strong, super powerful women and I think it was brutal enough as is, but the way Jay made Wonder Woman use the lasso to slam Superwoman to the ground is pretty amazing.

The battle between Owlman and Batman is awesome, too, because it’s sort of this weird intellectual standoff. Owlman is so far into his psychosis as to how the universe operates, it’s very existential. His concept is crazy, but the way he reasons out the technology of how things work and the way he thinks, it gave us great room to improvise Batman’s reaction. And then when they actually fight, it’s brutal. They do these gadget fights, sort of a modern ninja battle. The sound effects on the planet, the colors, the way it’s animated, it all works really well. And James Woods’ voice is perfect — most of the Crime Syndicate is very thuggish, they’re all about stealing money. But Owlman has created the ultimate plan to annihilate everybody, and James Woods does this great build-up. It’s great acting. He plays Owlman as a little bit off and kind of creepy, but not sinister creepy. His cadence is great, and his voice is almost charming in a way. It was a good mix of all the things I thought we’d have a problem with if we went too far one way or the other. It’s a great, tight sequence and I’m very happy the way it all came together.

QUESTION: What were the challenges of directing this film?

LM: It was a challenge because we had a really large cast of characters — lots of main characters — and they all needed a decent amount of screen time. Both the good guys and the bad. We had to make sure the audience got to know each of those characters and make sure they had a presence in the film that was important, and that was a challenge.

SL: Definitely the size of the cast and how to give enough screen time to everyone. At one point, Green Lantern was a little light on having enough important things to do. We needed to add a bit for Lex Luthor, too, and I still don’t think we did enough. We added a fight to show that Lex can fight, too, and tried to beef him up a bit. But there just wasn’t enough screen time to accommodate everyone.

QUESTION: Do you have a favorite character?

LM: Superwoman … just because she’s so wrong. She’s a bully, but she’s got the muscle to back it up. She’s everything you shouldn’t be, but is fun to work with.

QUESTION: What skills you learned or developed on past projects were you able to apply to this film?

LM: We had the same animation studio that did Wonder Woman, so we were able to draw from the work done on Wonder Woman and improve on that. Overall, the animation was good in Wonder Woman, but there was some poor stuff, too. I think they really improved — they saw what we responded to in Wonder Woman and they tried to do what they knew we liked, and it was good.

SL: I think, this whole process was better for me this time, especially working with Bruce (Timm) and Lauren. I was able to let go a little bit and not have to over-think things, and still know that things would work out. I generally stress over everything until the very last minute. With Lauren, I sort of learned that you can say "that’s enough" and move on to the next thing. I appreciate Lauren and her patience, and that we’re still friends. In the end, you take care of the important things and everything will work out.

Below is a Q&A session with rising anime star Hiroshi Yamazaki, the director of “The Duel” episode of Halo Legends — an all-new seven-episode anthology expanding the Halo universe.

The Blu-ray and DVD will be available February 16

Anime director Hiroshi Yamazaki provides fans with a distinctly different artistic vision of the Halo universe with his painterly approach to animation in “The Duel.”

Yamazaki’s episode goes back to ancient times, at the dawn of the Covenant. A shamed Elite defies his role as an “Arbiter” — an honored but suicidal role that would regain him a shred of honor—to take a path of revenge against those that stole the only thing that matters to such an amazing warrior: His true love. This ancient Arbiter must fight his way through ever-growing groups of his former allies (grunts, elites, hunters, etc.) until he finally stands face-to-face with the elite who betrayed his trust.

QUESTION: What made you think Halo would lend itself to anime/animation?

HIROSHI YAMAZAKI: I believe that the suitability (of a property for animation) depends upon each story. This story definitely worked well in animation, and in this style.

QUESTION: What was the inspiration for your artistic vision in your episode of Halo Legends?

HY: I have been a lover of viewing the Halo art /illustration collection books and such for some time and the entire collection of Halo properties inspired me.

QUESTION: Were there any particular images within the Halo realm that helped shape or drive your creative vision?

HY: When I was contacted by I.G about the project, I imagined that the project would be very Sci-Fi in taste. However, when I met Mr. Frank
O’Connor (of 343 Industries, Microsoft Games Studios) for the first time, his requirement was to create a Samurai episode featuring an Arbiter, and I was considerably and happily surprised.

QUESTION: What did you set out to accomplish in this episode, and why do you think you achieved or exceeded your goals?

HY: What I was aiming for in this project was to make audiences understand there should be other styles of animation beyond the existing two primary kinds of animation presented — precisely cel-drawing 2D style and CG 3D style. I wanted to show that creators are not limited, that they have many options for different (animation) styles to create stories.

QUESTION: Did you feel you had the proper Halo experience to to bring the world to life in anime?

HY: I have played Halo 1 and 2 all the way through to the end. As I was so busy in this project, I could not play Halo 3 but instead I watched the gaming movie many times from the beginning to end.

QUESTION: Did you include any "Easter eggs" for the devout Halo fans in your episode?

HY: I employed the phrase "Akuma-da!" ("He is a devil" in English) as part of the dialogue of a grunt soldier for fun for game lovers. I’m not
certain whether everyone will get to enjoy that treat, though, as I understand the English version and Japanese version differ considerably and I am not sure how this dialogue by the grunt is treated in the English version.

If Sex In the City fans were confused over their see-saw love affair with Chris Noth’s Mr. Big, comics fans will endure an equal amount of trepidation over Noth’s latest performance as the voice of a "good" Lex Luthor in “Justice League: Crisis on Two Earths,” a new DC Universe Animated Original PG-13 Movie coming February 23 from Warner.

In “Justice League: Crisis on Two Earths,” a "good" Lex Luthor arrives from an alternate universe to recruit the Justice League to help save his Earth from the Crime Syndicate, a gang of villains with virtually identical super powers to the Justice League. What ensues is the ultimate battle of good versus evil in a war that threatens both planets and, through a diabolical plan launched by Owlman, puts the balance of all existence in peril.

“Justice League: Crisis on Two Earths” is an original story from Dwayne McDuffie (Justice League). Bruce Timm (Superman Doomsday) is executive producer, and Lauren Montgomery (Wonder Woman, Green Lantern: First Flight) and Sam Liu (Superman/Batman: Public Enemies) are co-directors. The full-length animated film will be distributed by Warner Home Video as a Special Edition 2-disc version on DVD and Blu-Ray Hi-Def, as well as single disc DVD, and On Demand and Download.

Noth is best known as Mr. Big in “Sex and the City” and as Mike Logan in “Law & Order” and “Law & Order: Criminal Intent.” He can currently be seen starring opposite Julianna Margulies in the CBS drama “The Good Wife.” “Justice League: Crisis on Two Earths” is his first animated role.

He took some time to discuss the role:

QUESTION: You’ve had an extensive career in a number of acting mediums — is this really your first animation voiceover experience?

CHRIS NOTH: I think I did about three lines of Mike Logan on Family Guy. That was a quick little gig. The character (Stewie) on the show carries a picture of Mike Logan in his wallet, so I was very flattered by that. But that was just a few lines — so Lex is pretty much my first real animated role.

QUESTION: In that case, can you describe what your first "actual" animation voiceover experience was like?

CN: I felt I had an instinct for it, and it was a lot of fun. It’s an interesting technique and, like any medium, whether you’re doing radio or certain kinds of narrative voiceovers for stage or movies, it has its own sort of rules and performance values. I think the choices had to be bold and succinct and clear. To me, it appears that super heroes have to be powerful, but it also has to be real. You have to make bold choices and go all the way through with them. That’s true with a lot
of acting anyway. But with animation, it seems to me there’s nothing coy about it. The acting has its own subtleties. So you have to find that balance. And as long as you go with that instinct, it’s a blast.

QUESTION: Did you take a different approach to this Lex Luthor -a good guy Lex — than you would’ve taken with a typically villainous Lex?

CN: I was extremely excited to be playing the ultimate villain from my youth. I remember how Gene Hackman portayed Lex Luthor with such great delight in the films, and I thought I’d be getting that Lex. So I was surprised to see that in this script, Lex is actually on the right side of the law. It required a whole new thinking on my part on how to approach him. I mean, he’s a super hero who’s in this very complex, parallel universe. He’s actually trying to save all of reality from being destroyed. So I just took that adjustment and said, "Wow, I need to get up to date on my super heroes." I’m guess I’m a little bit retro. (he laughs)

QUESTION: Do you feel any special significance to be joining the canon of actors — Gene Hackman, Kevin Spacey, Michael Rosenbaum, Clancy Brown — to have brought Lex Luthor to life?

CN: Initially when I heard about the role, I thought about that great tradition of actors associated with Lex. And I really feel honored to be a part of that group. But this is a complete departure from those performances. This time, Lex is on the right side of the law. He’s worlds away from the old Lex.

QUESTION: You’ve done your share of Shakespeare. Can you characterize Lex within the context of some of the great literary or stage heroes/villains?

CN: Not this Lex. I find super heroes to be more archetypes of values of courage and fortitude and things like that. It’s interesting to me that the new world of animation, compared to when I was growing up, is so much more diverse in its characters. There’s so many more of them, and it’s a much more complicated world. The old comic books that I grew up on had these characters that were in many ways Shakespearean.

They were very big with their evilness in the same vein as Richard III in Shakespeare. Those characters relished being bad, and that’s always fun to play.

QUESTION: How did you find working alone in a sound booth versus playing off other actors?

CN: It presented a different challenge in the same way that a radio play is different from being on stage, and being on stage is different than being in the movies, and the movies are different than being on a TV series. They all have different values that are fun to explore and to take a crack at. So I found it challenging and interesting to jump into that world.

QUESTION: Did it get easier when Bruce Davison joined you at the microphone?

CN: That was even more fun because I know Bruce and it’s always more fun to work off another person. Sandy Meisner, the great acting teacher, used to say that what you do doesn’t depend on you. It depends on the other fellow. In other words, they make you respond. So when Bruce came in, there was a new kind of energy that I sort of relished. I didn’t have that many scenes with him, but he was a lot of fun and I think he made a great President.

QUESTION: As you are new to animation voiceovers, you’re also new to the direction involved. How did you find Andrea Romano’s direction?

CN: (Animation) is very quick, it’s to the point, and very on message, and you have to just go with it. Andrea was extremely helpful to me to get some of the tone and in knowing what you have to keep in mind with what’s happening to the character in the scene. Whether it’s an intimate scene or there’s a lot of action, she keeps you on point. So she’s a very good field marshal.

For more information, images and updates, please visit the film’s official website.

Grenade, grenade, fire, fire, melee. Master Chief can do more than that quick combo, which almost always gets you a kill in multiplayer, in the upcoming Halo animated feature.

“Halo Legends” will hit DVD and Blu-ray on February 9. Distributed by Warner Home video and produced by 343 Industries, part of Microsoft Game Studios, the CG and traditional anime will explore the history and origins of the Halo universe and some of its characters. The eight episodes will cover seven storylines, which will also be available via On Demand and Digital Download.

The episodes will fall inside Halo’s 26th Century continuity as humanity battles aliens to protect the ever-expanding space colonies of Earth. Halo fans will recognize some characters and locales from the games. Each episode will be 10 to 17 minutes long, with about two total hours of viewing.

Halo Legends will have the same look and feel as “The Animatrix” and “Batman Gotham Knight,” in that each episode will be self contained. Each episode will be presented as imagined by a the director or animator. Children of the 80s and anime fans, alike, will recognize the work of some of these creative contributors including Shinji Aramaki, who did character designs on “MASK;” Mamoru Oshii, creator and writer of “Jin-Ro;” and Hideki Futamura, a key animator on “Vampire Hunter D: Bloodlust.”

Extras on the two disc will include a “making of” feature, audio commentary with the directors and a mini-feature detailing the rise of the Halo franchise from an Xbox game to a mammoth property commanding over $1 billion in revenue with games, comics, novels and other merchandise. The Blu-ray will retail for around $35, the two-disc set for around $30 and the DVD for around $20.

We’ve got the frakking 411 from Universal on the release of several Battlestar Galactica DVD and Blu-ray sets, including a $350 complete series collection on Blu-ray that does everything but fly you away into outer space.

They’ll all be released on July 28.

The science fiction epic that not only bridged generations but brought a whole new generation into the genre is over, but season 4.5 on DVD and Blu-ray will have 13 hours of extras including three extended episodes of the series finale that were never aired. There will also be deleted scenes and behind the scenes fun. Finally, there are commentary tracks and podcast-able interviews with executive producers Ronald D. Moore and David Eick.

Battlestar Galactica: The Complete Series is a ridiculous 20 disk Blu-ray or 25 disk DVD set with every episode and just about every bonus feature you can think of.

Season 4.5 bonus features on Blu-ray only:

• U-CONTROL: Universal’s exclusive signature feature puts viewers one click away from going deeper into the making of the film without ever leaving the movie.
• THE ORACLE: An interactive guide including ships and characters.
• BATTLESTAR ACTUAL: A glossary of all the unique Battlestar Galactica terms.
• WHAT THE FRAK HAPPENED TO YOU? Explore the history and connections of your favorite characters through video clips and relevant facts.
• BD-LIVE: Access the BD-Live Center through your Internet-connected player to get even more content, watch the latest trailers, and more!
• BATTLESTAR GALACTICA ULTIMATE BATTLE: Players can battle their friends as Colonials or Cylons using strategy and luck to achieve victory.
• MY SCENES: Pick your favorite scenes from the film to create your own video montage.
• THE MUSICIANS BEHIND DAYBREAK: Composer Bear McCreary interviews and explains how many unique musicians have contributed the show and specifically the series finale, Daybreak.

Blu-ray and DVD features:

• EVOLUTION OF A CUE: Composer, Bear McCreary takes us step by step through his process of creating the music of Battlestar Galactica.
• What the Frak is Going On With Battlestar Galactica?: A recap of Battlestar Galactica’s first three thrilling seasons “" in only eight minutes!
• “¦AND THEY HAVE A PLAN: What do they mean every episode when the opening sequence on the Cylons states “And They Have A Plan?” All will be revealed in the upcoming movie The Plan.
• THE JOURNEY ENDS: THE ARRIVAL: Battlestar Galactica has traveled full circle. The journey has concluded never to be revisited. But how did we arrive at the end?
• A LOOK BACK
  • SO SAY WE ALL: Executive Producer Ron Moore and the cast and crew reveal their personal insights on Battlestar Galactica.
  • MANIFESTO DESTINY: It all began with this manifesto. Why was it written and what was the response?
  • BATTLE-STYLE GALACTICA: Those behind the camera delve into their approach to visual style of Battlestar Galactica.
  • MARTYR TO A CAUSE: As the only actor to appear in both the original and reimagined series, Richard Hatch offers his unique perspective on Battlestar Galactica.
  • THE SINS OF THE FORGIVEN: Insights on the curious religious aspects of Battlestar Galactica.
  • BATTLESTAR REVELATIONS: Firsthand accounts from those on the Battlestar for the past five years.
  • AUDIO COMMENTARIES BY RONALD D. MOORE, DAVID EICK, AND EDWARD JAMES OLMOS
• Moore’s Podcast Commentaries
• Eick’s Video Blogs
• DELETED SCENES

The Battlestar Galactica saga began on one devastating day, when the human population of the Twelve Colonies of Kobol was annihilated in a series of surprise attacks by their own creation”"the Cylons, a race of sentient robotic clones. The few survivors huddled together on space ships, facing almost certain death at the hands of their ruthless enemies. In Battlestar Galactica: Season 4.5, Commander William Adama (Emmy Award-winner Edward James Olmos), the hawkish military leader of the last surviving battleship, searches for a habitable planet as the murderous Cylons follow relentlessly. As mysterious premonitions help Laura Roslin (Mary McDonnell) the President of the Twelve Colonies, guide the ship to the fabled Thirteenth Colony, Earth, treacherous double agents, Cylon spies and internal dissent plague the Galactica. The ship’s crew and passengers battle for their lives”"and the survival of the human race”"armed with only cunning and determination against the military might of the Cylon Empire.

Warner Bros. issued a press release today announcing the DVD and Blu Ray release of the much anticipated “Watchmen” companion — “Watchmen: Tales from the Black Freighter and Under the Hood” — will be released on March 24, 2009.

“Tales of the Black Freighter” will also include “Under the Hood,” an autobiography of “Watchmen” character Nite Owl featured heavily in the graphic novel.

Both titles are executive produced by “Watchmen” director Zack Snyder, Lawrence Gordon, Lloyd Levin, Deborah Snyder, Thomas Tull and Wesley Coller.

A comic-within-a-comic from the original “Watchmen” graphic novel, “Tales of the Black Freighter”tells the story of a sailor’s return home after being marooned. It is read in “Watchmen” the graphic novel by a young man in New York City while the city around him is being destroyed. The events in “Black Freighter” seem to mirror those in the world of “Watchmen.”

A “Director’s Cut” version of “Watchmen” is planned to be released incorporating “Tales of the Black Freighter” into the film as director Zack Snyder had originally intended. Due to the length it added to the film, Snyder was forced not to include “Black Freighter” in “Watchmen”s theatrical release.

“Under the Hood” is the autobiography of the original Nite Howl, Hollis Mason. It discusses how Mason’s life led him to become a masked avenger and how the Minutemen, the first superheroes to emerge in the “Watchmen” universe, were formed. It is directed by Eric Matthies, written by Hans Rodionoff and produced by Eric Matthies and Wesley Coller. Stars Carla Gugino, Matt Frewer, Stephen McHattie and Jeffrey Dean Morgan appear as their characters from the theatrical “Watchmen” film in this live-action documentary style special.

“Watchmen: Tales from the Black Freighter and Under the Hood” will be available on standard definition disc for $27.95 and Blu-ray disc for $35.99.

Shepherds we shall be. To our local video store. For Boondock Saints on Blu-ray. February 10.

Set for $34.99, the Boondock Saints Blu-ray features deleted scenes and outakes with commentary from cast and crew and a special director’s cut.

We would like to see a “Saints” documentary or featurette — something NEW that you couldn’t find on the DVD and Special Edition DVD of the movie.

Boondock Saints is one of the great cult classics of all time, but moreso if you live in Boston.

Just in case you aren’t familiar:

Irish brothers Connor and Murphy MacManus live and work in South Boston. After killing a Russian mobster in self-defense, the brothers believe they have found their calling from God ridding the earth of human evil. So they set out to complete their divine deed by ridding the streets of gangsters, criminals and lowlifes; and as the body count rises, the brothers become local heroes (deemed the “Boondock Saints”) even as the police are on their trail. By risking their lives for their beliefs of Veritas (truth) and Aequitas (justice), the vigilante brothers take the law into their own hands”¦until they are pursued by unorthodox FBI agent Paul Smecker who follows their trail of bloodshed, but admits that the boys are doing exactly what he has always secretly wished to happen.

Two classically funny and action-filled Martin Lawrence movies are coming to Blu-ray on Tuesday.

In “National Security,” Martin partners with Steve Zahn as LAPD rejects turned security guards who take down a smuggling ring to prove themselves to their law enforcement betters.

In “Blue Streak,” Martin’s a master jewel thief who made a $20 million heist before getting busted. He stashed his loot, a huge diamond, in some duct work at a construction site just before the heat came down on him. The problem: that construction site was a future police station, which dumbfounds the thief when he gets out of prison.

I’d say “Blur Streak” is the bigger classic among our generation. It came out when many of us were young high schoolers, during a slow movie period, and I bet a lot of us saw it by default.

Both Blu-ray flicks feature 1080p high def visuals and Dolby TrueHD 5.1 sound. “Security” features a Disturbing Tha Peace music video, alternate ending, director commentary, and deleted scenes. “Streak” has a making-of featurette, an HBO first look, and music videos.

Don’t spend more than $20 though.

In anticipation of the November 14 release of Quantum of Solace, MGM released on six James Bond movies on Blu-ray on October 21.

So we sat down and watched them all.

The flicks included “For Your Eyes Only,” “From Russia with Love,” “Dr. No,” “Live and Let Die,” “Thunderball” and “Die Another Day,” — Pierce Brosnan’s last Bond run.

Our generation grew up with Pierce, and “Die Another Day” his second best of the four he did, but don’t miss “From Russia with Love,” and “Thunderball.” They’re a bit different than we’re used to, but they’re very good, classic 007 titles.

The films have been remastered for Blu-ray, and play in DTS surround sound.

They join “Casino Royale,” which was Daniel Craig’s first Bond role, which came out on Blu-ray last holiday season, and it has been one of the best, and best-selling Blu-ray titles.

There are more special features than movie minutes. They really pack the 50 GB dual-layer discs. There are image galleries, behind the scenes features, documentaries, featurettes on the various Bond actors, making-of features, profiles of the villains, and TV/radio spots

The films can be purchased individually, or on an Amazon.com exclusive six-pack.

Be warned, you’ll probably have to upgrade your firmware if you have an older DVD player. That has been a problem for a lot of late, great Blu-ray releases, and it was a problem when DVD first came out as well. Do your homework, but realize that this is one of those holiday “must haves.”

Stargate: Continuum came out last week hot on the trail of Stargate: The Ark of Truth. This movie finally ties all story threads in the SG:1 Universe — a fitting end to a series that started with an alien invasion.

The direct to DVD and Blu-ray feature is directed by series veteran, Martin Wood. Written by Brad Wright and Johnathan Glassner, developers and creators of the TV series, this movie is sure to please hardcore fans. The budget is clearly much bigger this time around. Everything from the back-from-the-past costumes, the CGI, and even the on-location filming looked far more detailed, expansive, and expensive than even the previous movie.

The movie is not advised to be seen by the unconverted. It is not only rich with time paradoxes and alien technology dialogue, but it’s also deep in Stargate universe mythology and SG-1 history. New people will get lost, and fans of the show will find their trivia knowledge absolutely put to the test. What you thought you knew about Stargate will need to be re-visited or you will have questions.

So far, fan reviews have given it praise. That being said, there are always the fans who will see this and ask ‘what the hell?’ While the movie clocks in at an average length of 1 hour and thirty minutes, it will seem short. Not rushed, but will seem as if more could of been included to show what happened than the explanations that were verbally given. Stargate is known for this sort of scripting, where days pass by and an explanation for an obvious gap in visuals is just spoken of as a cheap way out of actually filming something.

This movie will get confusing, as it is with all time-travel stories, logic will need to take a step outside. In Stargate:Continuum, Ba’al is the last of the Gou’ld to be sentenced to death in the new Tok’ra headquarters. Interesting to note that Tok’ra are nomads, but have finally chosen to settle. The well internet leaked appearance of Jack O’Neill comes early, and doesn’t disappoint as the one true fulcrum of the SG-1. The plot begins to take off when the SG-1 team members begin to disappear one by one.

The featured characters turn out to be Colonel Mitchell, Daniel Jackson, and Major Samantha Carter. They escape the disappearing phenomenon by jumping into the stargate. They find themselves not back home inside the SGC, but instead, inside a frozen boat, far away. What makes this movie worth while, as the remaining SG-1 team figures out away to foil Ba’al’s plans, are the numerous cameos by past Goa’aulds. This movie is truly meant for the Goa’auld lover out there.

One of the returning characters that should be reveled, specifically for Blast readers is the appearance by Don S. Davis, as General Hammond. Davis, who died this summer, gives an all too familiar performance as the well-loved authority figured who’s so partial to SG-1. This time it comes with a twist, but he has optimal screen time to do him final a Stargate farewell. Which is more that I can say for Apophis. Again.

While not wholly loved by the Stargate community, Beau Bridges gives a stellar monologue that finally does justice to what we all thought of about the alternate realities. He really gives voice to the ‘alternate universe’ perspective of why they wouldn’t just allow another SG-1 copies to run the place just so they can get back to their own time and/or space. With this movie we even get some semblance of normalcy and real heart break toward the end.

Fans of the series will need to see this one to finally wrap-up those 10 years of adventure. SG-1 has already proven themselves legends among the stars. And now they the prove how timeless they really have become.

I’ll leave you geeks, nerds, dorks, fans with something from Brad Wright himself: “MGM has suggested we start thinking about that and start putting a story together, and that’s what we’re doing right now. But not just a movie … it seems that MGM is confident SciFi Channel or some television outlet will pick up the previously announced third series “Stargate: Universe” as well.”

Wal-Mart and Sam’s Club, in a statement released Friday, announced they will completely back the Blu-ray format and phase out existing HD DVD products. The news is potentially a death blow to HD DVD, following the news that Best Buy and Netflix seem to be headed in the same direction.

“We’ve listened to our customers, who are showing a clear preference toward Blu-ray products and movies with their purchases,” said Gary Severson, senior vice president, Home Entertainment, Wal-Mart, U.S. “With the customers best interest in all we do, we wanted to share our decision and timeline with them as soon as possible, knowing it will help simplify their purchase decision, increase selection, and increase adoption long term.”

“We anticipate enhancing our selection with continued great values in hi-definition Blu-ray products, so our customers can further enhance their entertainment experience at home.”

By June, Wal-Mart and Sam’s stores will only offer Blu-ray hardware and DVD’s. 2008 has not been kind to HD DVD. Toshiba rang in the new year by getting the devastating news that Warner Bros. would produce all of their HD titles on Blu-ray.

The 60s, Beatles, Vietnam and even a appearance by Bono are what you can expect in the Julie Taymor-directed “Across the Universe,” coming to video February 5.

The film is a magical journey set in a turbulent time — set right in the middle of the antiwar movement as Jude (Jim Sturgess) leaves Liverpool and his job as a dockworker to find his father in America. He falls in love with a young, rich and sheltered American girl, Lucy (Evan Rachel Wood) who joins the Greenwich Village antiwar movement during the Vietnam War.

“Across the Universe” is a musical set to rock music. It’s a moving, entertaining, thought-provoking tale that you’ll watch over and over again with friends, dates and by yourself.

The Blu-ray features extended musical numbers, a deleted scene, commentary with director Julie Taymor and musical producer/composer Elliot Goldenthal as well as five behind-the-scenes shots. There’s also an art gallery on the disc with drawings from the film.

It’s in full 1080p with Dolby TrueHD 5.1.

This rock and roll musical runs over two hours and also stars Joe Anderson, Dana Fuchs, Martin Luther and T.V. Carpio.

Milla Jovovich is just about one of the hottest gun girls in the world.

Resident Evil: Extinction on Blu-ray is an excellent high-def adaptation for this video game movie. Granted, the movie got poor critical acclaim, but if you are a fan of the franchise, this one looks and sounds awesome.

The Blu-ray features 11 deleted scenes, director/producer commentary, four “making of” featurettes and a preview of Resident Evil: Degeneration, the upcoming CGI-based film.

Exclusive to the Blu-ray release, you can also use “Blu-wizard 2.0″ to create your own playlist of special features. More importantly, the Blu-ray disc features”Under the Umbrella: Picture-in-picture,” which features interviews with cast and crew, storyboards, photos and behind the scenes clips that play within the feature.

Milla is back in this third piece of the Resident Evil pie. The film is packed with zombies, blood and gore, and it also stars Ali Larter, Ashanti and Mike Epps.

Resident Evil: Extinction is now available on DVD and Blu-ray for $28.95 and $38.96. There is also a PSP Universal Media Disc version for $24.94. Finally, you can get all three Resident Evil flics in a Blu-ray trilogy for $89.95.

Warner Bros has announced they will drop support for the HD DVD format and produce high-definition titles exclusively for Sony’s Blu-ray.

This will serve as a huge problem for the HD DVD format. Warner Bros sells 18 to 20 percent of all home videos. This now leaves only Universal, The Weinstein Company and Paramount (and their child companies like Dreamworks) supporting the now falling behind HD DVD format.

Paramount switched to HD DVD only when they received a $150 million payoff last summer.

Conversely, the Blu-ray camp now has Sony Pictures, Disney, Fox, Lions Gate and now the Warner exclusivity.

Sony owns MGM and Columbia TriStar. Disney Owns Touchstone, Pixar and Miramax. This gives Blu-ray a much stronger position as far as this generation’s format war is concerned.

Prediction: If Paramount goes back to both formats or somehow decides to make just Blu-ray when their HD DVD contract expires, the war will be over quickly.

Toshiba was quick to respond, and they’re pissed off.

“Toshiba was quite surprised by Warner Bros.’ decision to abandon HD DVD in favor of Blu-ray, despite the fact that there are various contracts in place between our companies concerning
the support of HD DVD,” the company said in a statement Friday. “We will assess the potential impact of this announcement with the other HD DVD partner companies and evaluate potential next steps.”

The next step appears to be a step back. The HD DVD group canceled its CES press conference.

The reason behind Warner’s move — it looks like they’d rather support one than risk both next-gen HD formats failing.

People seem to like downloadable content from places like the iTunes, and Xbox Live has done well so far at selling videos. If the format wars continue, it looks like consumers could skip both Blu-ray, and HD DVD and go straight to downloadable.

“The window of opportunity for high-definition DVD could be missed if format confusion continues to linger,” Barry Meyer, Warner Brothers chairman, told Yahoo! Tech. “We believe that exclusively distributing in Blu-ray will further the potential for mass market success and ultimately benefit retailers, producers, and most importantly, consumers.”

Consumers just don’t want to buy the same movie — often a movie they may have had on VHS — a second, third or fourth time. Warner says that both formats are having an impact that caused consumers to say, “let’s wait a bit to buy anything, even a standard-definition DVD.”

Well, we can’t have that now, can we?

A two-disc special edition of “Casino Royale,” the latest installment in the James Bond franchise, is now available on DVD in regular format, as well as on Blu-ray disc. The film, which many critics considered to be a throwback to the Bond films of yore, is a must for any 007 completist.

Sony announced last week that the film is the first high definition disc to ship more than 100,000 copies. It’s also the first to have broken into the top 10 on Amazon.com’s best-seller list.

The movie is a perfect selling point for Sony’s Blu-Ray format, and an appropriate one for the company to use as a launching pad to surpass rival format HD-DVD. The crisp transfer on the Blu-Ray version allows fiery explosions to jump off the screen, and highlights every drop off water dripping off Daniel Craig’s sculpted abs as he emerges from a swim.

The special edition-available in both wide screen and full screen-includes a handful of extras tied to both the film and the franchise. A “Becoming Bond” documentary highlights the transformation of unlikely casting choice Craig into a blonde James Bond. A version of the 2002 AMC production “Bond Girls Are Forever” examines the role of leading ladies in Bond films over the years, and is updated to include Eva Green’s Casino Royale character, Vesper Lynd. Stunts performed in the movie’s numerous action sequences are dissected in a second featurette. And then, of course, is the token pop music video: in this case, for Chris Cornell’s “You Know My Name,” which provides the soundtrack to the opening credits of the film.

However, film buffs may want to hold off on rushing out to purchase the DVD, as in what is becoming the norm for DVD marketing, something along the lines of a “Super Special Deluxe Edition” will likely be released in the coming months, with additional extras and perhaps never-before-seen footage.

Animation in HD. 86 minutes of Martin Lawrence and Ashton Kutcher. Almost a dozen special features.

Need I say more?

Follow the path of Boog and Elliot as they join forces in the wilderness, in this latest Blu-Ray release.

The disc is packed full of featurettes and bonus material. You can spin the wheel in “Wheel of Fortune Forest Edition.” There’s an original short feature, “Boog & Elliot’s Midnight Bun Run.” We also have the usual deleted scenes and commentary material. And if that’s not enough, there’s an extremely funny feature called “Inside the Animals Studio,” a scene deconstruction special, artwork/beat boards and a music video.

Open Season also stars Gary Sinise and Debra Messing and has been critically acclaimed as the latest funny animated feature that will keep the kids occupied and throw in enough jokes to hold the big kid’s interest too.